"Columbus Takes on the Forces of Darkness, or Film and Historical Myth in 1492: Conquest of Paradise." In: Based on a true story : Latin American history at the movies / edited by Donald F. Stevens.
Wilmington, Del. : SR Books, 1997.

"Gender, and the Aliens Trilogy." In: The Dread of Difference: Gender and the Horror Film / edited by Barry Keith Grant. pp: 181-99 1st ed. Austin: University of Texas Press, 1996. Series title: Texas film studies series.

"Synthetics, Humanity, and the Life Force in the Alien Quartet." In: No cure for the future : disease and medicine in science fiction and fantasy / edited by Gary Westfahl and George Slusser.
Westport, Conn. : Greenwood Press, 2002. Contributions to the study of science fiction and fantasy ; no. 102

"Same As It Ever Was: Innovation and Exhaustionin the Horror and Science Fiction Films of the 1990s." In: Film genre 2000: new critical essays / edited by Wheeler Winston Dixon. pp: 111-23 Albany: State University of New York Press, c2000. SUNY series, cultural studies in cinema/video.

Main Stack PN1995.F45787 2000

Taubin, Amy

"The 'Alien' Trilogy: From Feminism to AIDS." In:
Women and Film: A Sight and Sound Reader / edited by Pam Cook and Philip Dodd. pp: 93-100 Philadelphia: Temple University Press, 1993. Series title: Culture and the moving image.

" Analyzes the immensely popular science fiction film series sometimes referred to as the Alien Trilogy (1979, 1986, 1992) for its mythopoetic critique of gender identity. The basis for this critique resides in the movies' embodiment of the literalized myths of gender and family and its subsequent deconstruction of this framework through metaphoric ambiguity. By destabilizing the conventional frame through which the rhetorical subject is constructed, the movies question reified social practice. Such a reading revises the feminist challenge to these texts, locating them in a broader cultural tension revolving around reproductive practice." [from ABC-CLIO America: History & Life]

Weinstock, Jeffrey A.

"Freaks in Space: 'Extraterrestrialism' and 'Deep-Space Multiculturalism'." In: Freakery: cultural spectacles of the extraordinary body / edited by Rosemarie Garland Thomson. pp: 327-37 New York: New York University Press, c1996.

"The new war movies as moral rearmament : Black hawk down and We were soldiers." In: The war film / edited and with an introduction by Robert Eberwein. New Brunswick, N.J. : Rutgers University Press, c2005.

"Doing the Full Monty with Dirk and Jane: Using the Phallus to Validate Marginalized Masculinities."
Journal of Men's Studies: A Scholarly Journal about Men and Masculinities 7. 3 (1999 Spring): 337-352.

"Cinematographer John Mathieson's work on Ridley Scott's film Gladiator is discussed. Convincingly re-creating the grandeur of ancient Rome, the film focuses on General Maximus, who is asked to succeed dying ruler Emperor Marcus Aurelius, but is subsequently enslaved and forced into gladiator training where he must survive a number of savage bouts while plotting his revenge. Saving valuable setup time by using fewer lights, Mathieson opted to use the Super 35 format, shooting on Panavision Platinum and GII cameras, Arri IIIs, and an Aaton XTR using Kodak Vision 200T 5274 and (EXR 50D) 5245 stocks. The large arsenal of up to seven cameras, allowed Mathieson and Scott to operate periodically, along with A-camera operator Peter Taylor and Steadicam operator Klemens Becker. The battle scenes were filmed at various frame rates and with a 45-degree shutter--a technique that helped to make the combatants seem more aggressive and to reveal clear sword movements through the air." [Art Index]

"In an interview, director Ridley Scott discusses his film Gladiator. After establishing deep roots in television and commercial production design during the 1960s, Scott developed into a truly inventive stylist. He does not simply direct feature films: He is a creator of cinematic worlds that all bear his indelible aesthetic imprint and benefit from his keen photographic instincts. Topics discussed include how the project of filming Gladiator came together, what led him to select Mathieson as its cinematographer and the skills Mathieson brought to the film, the visual influences on the film, his extensive interactions with production designer Arthur Max during preproduction, the decision to shoot in Super 35 with spherical lenses, and the logistical difficulties of filming the large battle scenes." [Art Index]

"From Here to Antiquity: Mythical Settings and Modern Sufferings in Contemporary Hollywood's Historical Epics." Film & History: An Interdisciplinary Journal of Film and Television Studies
Volume 39.2 (Fall 2009) pp. 29-38

In the following review, Felperin asserts that Gladiator is Scott's best work to date, observing that the film functions as an allegory that expresses an implicit criticism of the contemporary American mass entertainment culture

"Production designer Arthur Max discusses his work on Ridley Scott's film Gladiator. The design team and Max--a veteran of theater and music videos, who had worked on Scott's film G.I. Jane--had the task of constructing ancient Rome in just a few months. Scott and Max turned for inspiration to 19th-century French and British Romantic painters, many of whom had produced fanciful renditions of Rome in its heyday. Max's three art directors--David Allday, John King, and Benji Fernandez were dispatched to each of the film's principal locations: England, Malta, and Morocco. Ancient Rome was raised within the remnants of British fortifications on Malta, complete with an imperial palace and a part-built Colosseum: A huge, J-shaped, 75-ft-high section of its first tier and some fragmentary elements were built. The visual effects team later "raised" the building to its full height and added the 55,000 people held by the original Colosseum." [Art Index]

"Ridley Scott's Gladiator, which is set in Ancient Rome, is a production filled with genuine respect for its setting and subject. The film features an epic Colosseum, which is reconstructed with the aid of computer graphics, and has 10,000 costumes and 2,500 ancient weapons on display. It also lingers on small cultural details, excels at the portrayal of the grandeur of antiquity, and differs from old movies about Rome insofar as it does not have any reference to Christianity." [Art Index]

"Scenes in Ridley Scott's Gladiator show a stylized version of Rome A.D. 180. Although visually impressive, the city in the film is sprawling and out of scale. Production designer Arthur Max has manipulated the proportions of base, column, and pediment orders to create the effect of skyscraper-like buildings throughout the city. Rome also appears gray and treeless, unlike the actual cypress-and villa-dotted Palatine." [Art Index]

"Unbinding the Flesh in the Time that Remains." GLQ: A Journal of Lesbian & Gay Studies; 2007, Vol. 13 Issue 2/3, p197-225, 29p

"In this article the author examines the influence and weight the terms "crusades" and "martyrs" have had on Western and Middle Eastern populations in distant history and in the time since the September 11, 2001 terror attacks. She discusses the importance of the First Crusade in Muslim and Christian life of the 11th century. In addition the author examines and interprets the significance of the crusades as they were depicted in the 2005 motion picture "Kingdom of Heaven," directed by Ridley Scott." [Ebsco]

D'Arcens, Louise.

"Iraq, the Prequel(s):
Historicising Military Occupation and Withdrawal in Kingdom of Heaven and 300." Screening the Past, Issue 26: Special Issue:
Early Europe

" 'Thelma and Louise' is a successful commercial film which has generated a wide-ranging debate on the position of women in Hollywood action drama. The film has received a quick and exciting media response and is thought to be glorifying liberated females. The film manifests America's violent history with regard to the position of women. It also dwells on the myth of western expansion and material development. As shown, that myth can affect both sexes, and sexist exploitation may result." [Magazine Index]

"A combination of psychoanalytic theory & film criticism is applied to the film, Thelma and Louise (1991). In this model, social & economic oppression are seen as existing in the individual's psychological development. One's initial attachment to the female caregiver is of particular importance. It is argued that although the movie treads new ground for women, the narrative remains masculine. The camera's gaze is feminine, but the identification with aggression & dominance are patriarchal. Just as the individual adolescent lays the groundwork for his or her future autonomy through reactionary counteridentification, it is possible that Thelma and Louise has provided a base for future developments in feminism, though it fails as feminist cinema itself." [Sociological Abstracts]

Author Abstract: "Using relevancy as a conceptual framework, this study investigates women and men spectators' experiences with the 1991 film, Thelma & Louise. An analysis of the spectators' self-report essays explicates contradictory cultural subjectivities and subsequent interpretations of the film between the spectators: most women liked the film - most men hated it. While issues of sexism and women's marginalization appear irrelevant to the cultural subjectivities of the men, sexism and its consequences are the major relevant issues in the viewing experiences of the women. Women spectators overwhelmingly interpreted the events in the film as evidence of women's marginalized status in a patriarchal society, an interpretation that resulted in their overall endorsement of and identification with the film's protagonists. Men generally failed to make this connection, resulting in their interpretations of the film primarily as an unfair exercise in male-bashing. Most women also identified strongly with Thelma and Louise's friendship, while the majority of men either ignored the relationship or interpreted it as based on the characters' shared negative attitudes toward men. Explanations for these differences are suggested by linking the relevancies explicated from the spectators' essays to their social discourses and cultural subjectivities, and to gender-based cultural myths and stereotypes." COPYRIGHT 1999 Speech Communication Association.

Focuses on the motion picture 'Thelma & Louise,' starring Susan Sarandon and Geena Davis. Screenwriter Callie Khouri's handling of the limited way in which women are portrayed in movies; Flaws in film's depiction of the abuse of women.

Dargis, Manohla.

"Roads to freedom." Sight & Sound, v. 1 (July '91) p. 14-18

Dargis, Manohla.

"Thelma & Louise and the Tradition of the Male Road Movie." Women and Film: A Sight and Sound Reader / edited by Pam Cook and Philip Dodd. pp: 86-92. Philadelphia: Temple University Press, 1993. Culture and the moving image

"'Thelma and Louise' can be used to teach pentadic, feminist and ideological criticism. The different situations in the film can be analyzed so that the methods used to present the motives of the characters can be identified. The depiction of women and their experiences are also interesting topics of discussion when viewing 'Thelma and Louise.' Communication teachers can also help their students determine the political or ideological message that the movie tries to impart." [Magazine Index]

Griggers, Kathy.

"Thelma and Louise and the Cultural Generation of the New Butch-Femme." In: Film theory goes to the movies / edited by Jim Collins, Hilary Radner, and Ava Preacher Collins. New York : Routledge, 1993.

"Thelma and Louise and the Cultural Generation of the New Butch-femme." In: Film theory goes to the movies / edited by Jim Collins, Hilary Radner, and Ava Preacher Collins. New York : Routledge, 1993.

Main Stack PN1994.F43915 1993

Moffitt PN1994.F43915 1993

Hart, Lynda.

"'Til Death Do Us Part: Impossible Spaces in Thelma and Louise."
Journal of the History of Sexuality vol. 4 no. 3. 1994 Jan. pp: 430-46.

"A feminist/psychoanalytic reading of the film Thelma and Louise & its reception in the media. It is argued that, in the context of numerous other "killer women" films that have recently been produced in Hollywood, Thelma and Louise is distinct in its representation of two women wo "do it" together. The "negative" of the "lesbian" coupling that ghosts the entrance of violent women into representation is developed, & the film's absent spaces - TX & the Grand Caynon - are read as the traumatized aporia in a masculine imaginary that produces what it sets out to prohibit." [Sociological Abstracts]

"The soundtrack of 'Thelma and Louise' contributes substantially to the success of the film. The 18 songs serve as commentary and background to the actions, putting them into perspective. They reflect the emotions of the actors and the environment in which the plot develops. 'Little Honey' describes a woman dominated by men. 'House of Hope' reflects both women's self-worth and fulfillment. The route they take as they travel is depicted in 'Badlands,' which is also a metaphor for their emotional state. The film shows that creating an effective soundtrack is an art." [Magazine Index]

"Gender, Genre, and Myth in Thelma and Louise." In: Gender and culture in literature and film East and West: issues of perception and interpretation: selected conference conference papers / edited by Nitaya Masavisut, George Simson, Larry E. Smith. pp: 113-23. Honolulu, HI: College of Languages, Linguistics, and Literature, University of Hawaii: East-West Center, c1994. Literary studies--East and West ; v. 9

Analysis of 1990s fiction demonstrates the societal shift in the attitude of women crime victims. Previously, women protected themselves through non-violent means, but now they aggressively seek retribution for crimes.

Morrison, Patt.

"Get a grip, guys: this is fantasy." (male reaction to the film 'Thelma and Louise) (column)
Los Angeles Times v110 (Mon, July 22, 1991):B5, col 2, 18 col in.

"Feminism and the Popular: Reading of Rape and Postfeminism in Themla and Louise." In:
Watching rape : film and television in postfeminist culture / Sarah Projansky.
New York : New York University Press, c2001.

"Out of the Mine and into the Canyon: Working-Class Feminism, Yesterday and
Today." In: The Hidden Foundation: Cinema and the Question of Class / David E. James and Rick Berg, editors. pp: 172-92.Minneapolis: University of Minnesota Press, c1996.

"Thelma and Louise and Sense and Sensibility: New Approaches to Challenging
Dichotomies in Women's History Through Literature and Film." Journal of South Texas English Studies,
Fall2009, Vol. 1 Issue 1, p1-19, 19p

"Let's keep goin'!": on the road with Louise and Thelma." In: Ladies and gentlemen, boys and girls : gender in film at the end of the twentieth century / edited by Murray Pomerance. Albany : State University of New York Press, c2001.

Main Stack PN1995.9.S47.L33 2001

Wiegand, Shirley A.

"Deception and Artifice: Thelma, Louise, and the Legal Hermeneutic A Symposium on Film and the Law ." Oklahoma City University Law Review v. 22 (Spring 1997) p. 25-

"Hardware and Hard Bodies, What Do Women Want?: A Reading of Thelma and Louise." In: Film theory goes to the movies / edited by Jim Collins, Hilary Radner, and Ava Preacher Collins. New York : Routledge, 1993.

Main Stack PN1994.F43915 1993

Moffitt PN1994.F43915 1993

Willis, Sharon

"Movies and Wayward Images." In: American cinema of the 1990s: themes and variations / edited by Chris Holmlund.
New Brunswick, N.J. : Rutgers University Press, c2008.